VoiceOne Voice Pitch and Modeling Tool

USER’S MANUAL

IMPORTANT SAFETY INSTRUCTIONS

The lightning flash with an arrowhead The exclamation point within an symbol within an equilateral triangle, is equilateral triangle is intended to alert intended to alert the user to the the user to the presence of important presence of uninsulated "dangerous voltage" operating and maintenance (servicing) within the product's enclosure that may be of instructions in the literature accompanying the sufficient magnitude to constitute a risk of product. electric shock to persons.

1 Read these instructions. Warning! 2 Keep these instructions. • To reduce the risk of fire or electric shock, 3 Heed all warnings. do not expose this apparatus to rain or 4 Follow all instructions. moisture. 5 Do not use this apparatus near water. • This apparatus must be earthed. 6 Clean only with dry cloth. • Use a three wire grounding type line cord 7 Do not block any ventilation openings. like the one supplied with the product. Install in accordance with the • Be advised that different operating voltages manufacturer's instructions. require the use of different types of line 8 Do not install near any heat sources such cord and attachment plugs. as radiators, heat registers, stoves, or other • Check the voltage in your area and use the apparatus (including amplifiers) that correct type. See table below: produce heat. 9 Do not defeat the safety purpose of the Voltage Line plug according to standard polarized or grounding-type plug. A 110-125V UL817 and CSA C22.2 no 42. polarized plug has two blades with one wider than the other. A grounding type plug 220-230V CEE 7 page VII, SR section has two blades and a third grounding 107-2-D1/IEC 83 page C4. prong. The wide blade or the third prong 240V BS 1363 of 1984. are provided for your safety. If the provided Specification for 13A fused plug does not fit into your outlet, consult an plugs and switched and electrician for replacement of the obsolete unswitched socket outlets. outlet. 10 Protect the power cord from being walked • This equipment should be installed near the on or pinched particularly at plugs, socket outlet and disconnection of the convenience receptacles, and the point device should be easily accessible. where they exit from the apparatus. • Do not install in a confined space. 11 Only use attachments/accessories • Do not open the unit - risk of electric shock specified by the manufacturer. inside. 12 Unplug this apparatus during lightning storms or when unused for long periods of Caution: time. You are cautioned that any change or 13 Refer all servicing to qualified service modifications not expressly approved in this personnel. Servicing is required when the manual could void your authority to operate this apparatus has been damaged in any way, equipment. such as power-supply cord or plug is damaged, liquid has been spilled or objects Service have fallen into the apparatus, the • There are no user-serviceable parts inside. apparatus has been exposed to rain or • All service must be performed by qualified moisture, does not operate normally, or has personnel. been dropped.

a IMPORTANT SAFETY INSTRUCTIONS

EMC / EMI. This equipment has been tested and found to comply with the limits for a Class B Digital device, pursuant to part 15 of the FCC rules. Certificate Of Conformity These limits are designed to provide TC Electronic A/S, Sindalsvej 34, 8240 reasonable protection against harmful Risskov, Denmark, hereby declares on own interference in residential installations. This responsibility that following products: equipment generates, uses and can radiate radio frequency energy and, if not installed and VoiceOne used in accordance with the instructions, may - Voice Pitch and Modeling Tool cause harmful interference to radio communications. However, there is no - that is covered by this certificate and guarantee that interference will not occur in a marked with CE-label conforms with particular installation. If this equipment does following standards: cause harmful interference to radio or television reception, which can be determined by turning EN 60065 Safety requirements for mains the equipment off and on. The user is (IEC 60065) operated electronic and encouraged to try to correct the interference by related apparatus for household one or more of the following measures: and similar general use EN 55103-1 Product family standard for • Reorient or relocate the receiving antenna. audio,video, audio-visual and • Increase the separation between the entertainment lighting control equipment and receiver. apparatus for professional • Connect the equipment into an outlet on a use. Part 1: Emission. circuit different from that to which the EN 55103-2 Product family standard for receiver is connected. audio, video, audio-visual and • Consult the dealer or an experienced entertainment lighting control radio/TV technician for help. apparatus for professional use. Part 2: Immunity. For the customers in Canada: This Class B digital apparatus complies with With reference to regulations in following Canadian ICES-003. directives: Cet appareil numérique de la classe B est 73/23/EEC, 89/336/EEC conforme à la norme NMB-003 du Canada. Issued in Risskov, April 2002 Anders Fauerskov Chief Executive Officer

b TABLE OF CONTENTS

INTRODUCTION MIDI / UTILITY

Table of Contents ...... 3 MIDI Control Parameters ...... 23 Text Conventions ...... 3 Voice Modeling Self Controls ...... 23 Quick Start Guide ...... 4 VM Parameter Lock ...... 24 Introduction ...... 9 Bulk Dump ...... 24 Foot switch Control ...... 24 BASIC OPERATION Sysex ID ...... 24 Program Bank ...... 24 Front Panel ...... 10 Tuning Reference ...... 24 Rear Panel ...... 12 Viewing Angle ...... 24 Setups ...... 13 Signal Flow ...... 14 MIDI IMPLEMENTATION

Preset Handling Pitch Correction...... 25 Preset Types ...... 15 Pitch Shifting ...... 26 Recall ...... 15 Voice Modeling ...... 27 Edit ...... 15 Other Parameters ...... 28 Store ...... 15 Non-Registered Parameter Numbers .29 Preset Backup via MIDI ...... 15 ADDITIONAL INFORMATION VOICE MODELING EDIT PARAMETERS Technical Specifications ...... 30 Introduction ...... 16 VM Inflection ...... 16 Preset/Style/Applications Guide: VM Vibrato ...... 16 Preset List ...... 31 VM Spectral ...... 16 Voice Modeling Styles ...... 34 VM Breath ...... 16 Pitch Correction Scale Definitions . . .39 VM Growl ...... 16 Voice One Tips ...... 40 VM Resonance ...... 16 TEXT CONVENTIONS

PITCH EFFECTS EDIT PARAMETERS Names of front panel controls, display items and keys are displayed in BOLD CAPITALS. Introduction ...... 19 In function descriptions, front panel items Pitch Correction Parameters ...... 19 appear in PLAIN CAPITALS. Names of second PureShift (TM) Mode ...... 19 level edit parameters are in Bold Mixed Case Pitch Shift Parameters ...... 19 lettering. In function descriptions, they appear Pitch Shift Modes ...... 19 in Plain Mixed Case. Abreviations of menu items are in BOLD CAPITALS, and their I/O SETUP descriptions in Bold Mixed case. Alphabetical listings of parameter values will be in plain I/O Setup ...... 22 Italic. Special notes appear in Italic, plain or Inputs and Input Gain ...... 22 Bold. Digital Clock, Dither, Status Bits . . . .22 Lo-Cut ...... 22 Analog Input / Output Range ...... 22 Latency ...... 22 Bypass Modes ...... 22

English Version Rev 3.0 – SW – V 1.02 Prod. No: E60501201 3 QUICK START BEFORE YOU BEGIN

Thank you for purchasing the TC-Helicon VoiceOne Vocal Pitch and Modeling Tool.We know you want to get started right away. By reading this Quick Start guide you will be up and run- ning in a matter of minutes. Please use this to get into the main functions of VoiceOne, but do refer to the main manual for more detailed features and descriptions.

The TC-Helicon Team www.tc-helicon.com

BEFORE YOU BEGIN

1) Check the contents of your VoiceOne carton. You should have received: • VoiceOne unit • Power cable appropriate to the power receptacles for you region • VoiceOne User Manual • This VoiceOne Quickstart Manual • VoiceOne Preset, Style and Application Pamphlet • TC-Electronic Catalog • Warranty Card

2) Observe basic safety precautions: • Operate from a regulated power receptacle. • Do not open the unit! There are no user serviceable parts inside. • Turn amplifiers and speakers down or off when patching in this equipment.

WHAT DOES VOICEONE DO?

VoiceOne is a special product for the human voice. With this tool you now have the power to do:

• Voice Modeling (TM) Effects - Inflection including FlexTime(TM) - Vibrato - Resonance (Warp) - Growl - Breath - Spectral (Voice Optimized Equalizer) • Pitch Shifting and Correction to +/- 2 octaves, by reference to scales, note mapping, fine tuned cent unit shifts, MIDI notes and • Pitch Bend • PureShift(TM) Full DSP Mode for Pitch Effects. • Foot switch control of select parameters. • Extensive MIDI control of effect parameters.

Let’s get started!

4 QUICK START SETUP - AUDIO AND MIDI

SETTING UP VOICEONE

Note: Do not turn the unit on until you make all of your setup connections.

1) Connect the power cable to the back of VoiceOne and plug it in to the power receptacle. 2) Connect your audio source - a) Connect the output from your mixer, preamp or other balanced equipment to VoiceOne, using XLR analog cable to Channel 1, or b) an S/PDIF digital cable to the DI jack. See the I/O SETUP section for Digital I/O information. VoiceOne defaults to analog settings. 3) Connect your Audio Output - a) Connect the Balanced Analog Output from Channel 1 to your mixer, recorder or monitor system using balanced XLR cable. b) You may also connect the S/PDIF Out ‘DO’ to your S/PDIF digital equipment. 4) Connect your MIDI devices - a) Connect the MIDI Out from your controller or sequencer to the MIDI In in VoiceOne. b) Connect the MIDI Thru to your other MIDI devices if you choose. c) Connect the MIDI Out to your MIDI recorder or sound module. 5) Footswitch - You may connect a footswitch to control the bypass features. See the I/O SETUP section for details. 6) Set the Input and Output Knobs to full counter-clockwise as a precaution for power-up. 7) Power up VoiceOne using the POWER key.

Rear Panel Diagram

2a 3a 2b 3b 4a 4b 4c 5

FRONT PANEL NAVIGATION

7 6 6

You’re now connected and powered up! You can now set the input gain of your signal to a strong level without clipping (The leftmost meter labelled IN will light up red if there is an overload). Use the Input knob to adjust this.

Now let’s take a look at the front panel controls...

5 QUICK START FRONT PANEL CONTROLS

FRONT PANEL NAVIGATION

PITCH and VOICE MODELING KEYS DATA WHEEL A single click will activate/deacti- vate the effect. Double clicking on ARROW KEYS the key will enter the edit menu of the effect algorithm. A lit key LED ENTER KEY indicates that the effect block is active. BYPASS KEY Bypasses all FUNCTION KEYS: I/O and MIDI/UTIL functions, allow- A single click will enter the parame- ing the original ters for editing. input audio to pass. RECALL KEY Use the DATA wheel to scroll through the presets, then press RECALL to load the preset.

STORE Press STORE once to save a preset. Select a location using the DATA wheel. Press ENTER to confirm this operation. To edit the name, use the ARROW keys to scroll through the letter positions, and the DATA wheel to select a character. Press ENTER or STORE to finish.

Now that you know how the buttons are set up, you can experiment with browsing the pre- sets. Use the DATA wheel to do this. Press the Voice Modeling and Pitch keys to toggle the effects on and off. Turn the wheel to preset 99. This is the preset we will use to explore the individual effects.

Let’s look at the effects and what they do...

6 QUICK START VOICEMODELING EDIT PARAMETERS

VOICE MODELING (VM) STYLES AND SPECTRAL EFFECTS AMOUNTS The Spectral styles reflect the natural Here’s a good way to get started hearing all of equalization equivalent to the native control a the Voice Modeling effects with your vocal. singer has over his or her own voice, and apply • Go to factory preset 99 - we’ll use this preset this equalization to the VM voice. These styles to do our experiments. may be used in conjunction with the • Press the VM effect key so that it lights - the resonances, or purely as additional tonal control effect is now active. Choose between over the VM voice. Inflection, Vibrato, Spectra, Breath, Growl and Resonance. BREATH EFFECTS • Double click that same key to enter the edit The Breath styles add breathiness to the vocal. parameters. This varies from a whisper, all the way to a • Set the Amount to 50% - a midrange value. rough, raspy sound, such as is found in hard • Use the ARROW DOWN key to scroll to the rock and ‘alternative’ rock music. next parameter - the styles. Styles are like Some styles are sensitive to the dynamics of miniature factory presets for the VM the incoming vocal, meaning that they can be categories. Refer to the Preset, Style and ‘played’ by varying the level of what is sung into Application guide for descriptions on the Voice One. This is also known as ‘self-control’. effects applications, and the style functions. GROWL EFFECTS INFLECTION EFFECTS Growl in VoiceModeling mimics friction activity The inflection effect can alter the inflection of between the larynx and epiglottis regions of the your vocals in different ways. You can add vocal tract. This is a ‘character’ phenomenon various types of "scooping" effects to the used in high energy rock, blues or old soul onsets of a lead vocal for instance, but music for example. inflection is also the place where you can find The Growl effect also models the changes in the humanization tools that will help you give a the vocal tract shape that growling requires, harmony line its own identity or create altering the vocal resonance characteristics. extremely natural doubling effect. Inflection Some styles are sensitive to the dynamics of provides tools such as portamento, pitch and the incoming vocal, meaning that the effect can timing randomization (using our FlexTime(TM) be controlled by the volume of what is sung into algorithm) as well as up/down scoop models. Voice One. This is also known as ‘self-control’.

VIBRATO EFFECTS RESONANCE EFFECTS Vibrato is a pitch and amplitude effect that Resonance styles allow you to take the singers often use in their delivery of a piece of harmonic content that forms the identity of the music. It is a combination of various incoming voice and change the content’s characteristics of the voice being repeatedly positioning to yield a new character to the altered in a oscillating fashion. Every singer's sound. Some styles change the voice to a vibrato is unique. The Vibrato Styles are based heavier, darker chest resonance, while others on real vocalists’ vibratos. We have analyzed a lighten the sound to more of a head and throat large set of parameters from a voice database resonance. Some styles also change the voice and created various vibrato models. The in a more complex way that depends on the Vibrato setting names reflect the style of the input voice. vocals from which they were extracted. Experimentation is the key to finding a style setting that best suits your application. You might begin incorporating Vibrato into your sound by setting the VIB Amt control to 50%. This setting matches the depth level that we analyzed in our modeling subjects. You can then vary the effect from this middle range up or down to suit your taste.

7 QUICK START PITCH EFFECTS EDIT PARAMETERS

PITCH CORRECTION There you have a basic hands on Again, we will use Factory preset #99 for our demonstration on how some of the many experiments. Turn all of the VM effects off for functions of VoiceOne are accessed. We now by pressing their keys on the front panel. invite you to explore these features in depth Press the CORRECT key in preset #99 to turn in the main User’s Manual. on the effect. We have set this up to correct to a chromatic scale, with a default root of C. Have fun with VoiceOne! Double Click the CORRECT key and use the ARROW keys to find the COR Window or Visit our website for technical support, correction window. Sing or play a vocal into literature, information, presets, FAQs, VoiceOne, and adjust this window with the promotions and many other items related to DATA wheel. You should also work with the TC-Helicon Vocal Products. COR Attack and COR Amount parameters to change the strictness and amount of correction. www.tc-helicon.com Refer to the main PITCH CORRECTION and PITCH CORRECTION SCALE DEFINITIONS Thank You sections to investigate the other correction The TC-Helicon Team scales, entering a custom scale, and correction via MIDI control.

PITCH SHIFTING Shift Amount/Mode To understand how the shift amount is applied in the various modes, it is a good idea to be familiar with how VoiceOne shows the shift offsets in the various modes. Please refer to the PITCH SHIFT section for details.

In our Quickstart test preset (Factory #99) the setting for SHI Mode is Chromatic. You can then apply a static shift to the vocal by changing the SHI Amount. This value is in cents. 100 cents = one semitone. Experiment with upshifts and downshifts. When finished, press the SHIFT key to return to the top level screen. Press the CORRECT button to disable the Pitch Correction.

Now, let’s do an intelligent shift. We’re going to use a major scale as our basis. Remember, to hear the effect, the SHIFT key must be pressed so that the LED lights. Double-click the SHIFT key, and use the ARROW keys to find the SHI Mode parameter. Select Major 1 with the DATA wheel. With the Arrow keys, scroll to the SHI Amount parameter, and select the interval you want to shift to. Try ‘3rd’ as an experiment. The scale is in C major, since you haven’t changed the root note in the Correction section. You should now hear your input shifted to a diatonic 3rd above C, depending on the notes you send in. If you sing C, you should hear E.

8 INTRODUCTION

Thank you for purchasing the TC-Helicon VoiceOne Voice Modeling Tool. This is a unique, state of the art processor designed specifically for vocal applications. We know you will enjoy using it, as much as we enjoyed designing it for you.

The TC-Helicon VoiceOne is designed for studio applications as well as live applications. VoiceOne allows manipulation of a singer's voice to introduce unique vocal enhancement, pitch correction and pitch shift effects. With VoiceOne you can sculpt a vocal to have unique breathiness, growl, rasp and resonant characteristics. The result? Any vocal can have a vastly expanded character range that goes far beyond the ability of what a single singer can produce. VoiceOne also enables stylistic pitch effects such as vibrato and inflections, along with world class pitch correction and pitch shifting. VoiceOne is a tool that makes the voice elastic and pliable. With VoiceOne, the best characteristics of a voice can be brought out and new characteristics can be added.

Features: • Voice Modeling (TM) Effects: - Inflection including FlexTime(TM) - Vibrato - Resonance (Warp) - Growl - Breath - Spectral • Static Pitch Shift • MIDI Based Pitch Shifting • Scale Based Pitch Correction / Shifting • MIDI Based Pitch Correction • PureShift(TM) Full DSP Mode • Custom Main LCD display giving feedback on key data. • Flexible and simple parameter editing. • Foot switch control of select parameters. • Extensive MIDI control of effect parameters.

Please refer to this manual often, as there are many features and variations to explore. Our website is another good source for applications, support and other user services. We know you will appreciate VoiceOne as an inspirational creative device as much as a complete Voice Modeling tool. Enjoy!

The TC-Helicon Team www.tc-helicon.com

9 FRONT PANEL

POWER KEY INPUT TYPE - INTONATION METER On/Off switch for the unit. ANALOG / DIGITAL Displays the position in cents DIGITAL: Indicates digital input above or below the nearest INPUT LEVEL KNOB mode is selected. pitch shown by the current Adjusts the Input level. 44.1/48kHz: Indicates the note indicator. Range: 12dB. The global input current sample rate. If external range can be set in the I/O clock is selected the CORRECTION METER menu. 44.1/48kHz indicator will blink Displays the amount in cents until a valid clock can be of correction applied to the OUTPUT LEVEL KNOB determined. note or melody being sung. Adjusts the Output level. If digital input is selected but Range: 12dB. The global no valid digital signal can be MIDI IN output range can be set in the detected the DIGITAL indicator Indicates incoming MIDI I/O menu. This knob controls will blink. information. overall output level. It is not correlated with the output DI LED VOICE MODELING AMOUNT meter. The Output Meter Indicates that external digital DISPLAY measures output levels and clock input is selected. This display shows the amount DSP activity before the signal of Voice Modeled (VM) effect is affected by the Output knob. CURRENT NOTE INDICATOR in each of the six categories Indicates the current note used in the current preset. INPUT METERS being sung. Peak meter showing Input TEXT DISPLAY level. The Meter range is: 0 to CURRENT SCALE TONIC Displays the preset number -40dB. INDICATOR and name, effects parameters, Displays the tonic note of the and aids in menu navigation INPUT OVERLOAD LEDS current scale. and parameter value selection. The Overload LEDs indicate that the Input level is too high, CURRENT SCALE TYPE EDITED or there is an internal DSP INDICATOR When this LED is lit the overflow. Shows the scale type currently currently recalled preset has selected in the preset. been edited but not yet stored.

SCALE NOTE KEYBOARD FACT / USER INDICATOR Indicates whether you are A piano-style representation of operating in the FACTORY or the notes in the currently in the USER preset bank. selected scale. A lit circle around the note shows the current note being sung.

10 FRONT PANEL

FRONT PANEL CONTROLS - I/O ENTER GENERAL INFORMATION The I/O menu is where all Used to confirm a parameter A single click will activate or Input and Output related edit, or function. deactivate the effect. Double parameters are controlled. clicking on the key will enter BYPASS the Edit menu of the effect MIDI/UTIL Press to bypass all effects. algorithm. A lit key LED Press to access all MIDI and indicates that the effect block other general parameters. is active. RECALL PITCH CORRECTION KEY Press RECALL to initiate a On/Off/Edit key for the Pitch recall operation. Use the wheel Correction block. to select preset. Then press ENTER or RECALL to confirm PITCH SHIFT KEY operation. On/Off/Edit key for the Pitch Shift block. STORE Press STORE once to save a INFLECTION KEY preset. Select location using On/Off/Edit key for the the DATA wheel in the Control Inflection block. section. Now press STORE to confirm operation. VIBRATO KEY The name of the preset can be On/Off/Edit key for the Vibrato altered before pressing block. STORE for confirmation. To do this use the ARROW keys to SPECTRAL KEY select letter-space and the On/Off/Edit key for the Vocal DATA wheel to select letter. Spectral EQ block. When done press STORE to confirm the entire STORE BREATH KEY operation. On/Off/Edit key for the Breath block. ARROW KEYS Used to scroll through GROWL KEY parameters when editing a On/Off/Edit for the Growl block. block. DATA WHEEL RESONANCE KEY This wheel is used to select On/Off/Edit for the Resonance the preset number to be block. recalled, or to set the value of a parameter when editing.

11 REAR PANEL

Balanced Balanced Digital MIDI Footswitch XLR XLR S/PDIF In, Out, Thru Jack Analog Analog Input/ Inputs Outputs Output

MIDI Cable Note! The analog Input and Output DIN CONNECTOR DIN CONNECTOR 5POLE - MALE max. 10m 5POLE - MALE connectors on the VoiceOne are 45 degrees 45 degrees balanced XLR jacks. Optimal SHIELDED CABLE (3 or 5 wires + screen) performance with balanced equipment is achieved using balanced cables.

Balanced XLR Cable Balanced XLR to - 3 Pin Type Balanced 1/4” Cable

12 SETUPS

Connecting and Setting up Voice One - Analog Analog Audio Setup: • Connect Auxiliary Send from Mixer or output from preamp to input 1 on VoiceOne. Voice one does not accept a microphone directly. Run a microphone into a mixer or mic preamp first, then route to the VoiceOne. If you wish, place insert processors like a compressor before VoiceOne in the chain. Input 1 is the default input. You may use only one input at a time. • Connect Outputs 1 and 2 to two channels on your mixing desk. In the I/O parameters, select the Output to have VM signal routed to the left or the right output. The opposite output from the one you choose for the VM signal will be a dry output. You may now place these outputs anywhere in the stereo field. Effects such as reverb, delays and chorusing may be added in the chain after VoiceOne if desired. • Adjust the input level on the front panel of VoiceOne to prevent audio clipping.

Connecting and Setting up Voice One - Digital

Digital Audio Setup: • Connect the S/PDIF Digital Out from your sound source to the Digital Input (DI) on the rear of VoiceOne. • In the I/O menus, choose which channel the VoiceOne will read its input from. • Connect the Digital Out (DO) to the Digital Input of your recording or mixing equipment. If the VoiceOne is to be the master device, set the clock to either 44.1kHz or 48kHz. This setting will depend on the rate you require to match your recording gear. If the Voice One is to be the slave device, set the clock to Digital. • Refer to the I/O section of the manual for more information. • As in the previous setup, place preamps and compressors before VoiceOne, and effects devices after VoiceOne.

Note: You can have an analog input and a digital output, or a digital input and an analog ouput on VoiceOne if you desire. You may also use both analog and digital outputs simultaneously.

13 SETUPS & SIGNAL FLOW

Connecting and Setting up VoiceOne - MIDI

MIDI Setup: • Connect the MIDI Out of your MIDI controller or sequencer to the MIDI In of VoiceOne. • You can set different MIDI channels to receive for the main MIDI section, for MIDI pitch shifting, and for MIDI pitch correction. You may also send the MIDI pitch output on its own channel as well. See the MIDI/Util section later in the manual. • Be sure that your controller or sequencer is transmitting on the same MIDI channel that VoiceOne is set to receive on. Voice One defaults to Channel 1. • Connect the VoiceOne MIDI Out to a sequencer or sound source input if you wish to use the MIDI Pitch Output of VoiceOne. The MIDI channel of this output may be selected in the MIDI / UTIL menu. • Changing parameters on the front panel sends the coresponding MIDI data to the MIDI out. • Connect VoiceOne’s MIDI Thru to pass the MIDI input on to other devices unchanged. • Connect the VoiceOne MIDI In and Out to a MIDI Sequencer, Librarian or another VoiceOne for sending and receiving Preset dumps via MIDI System Exclusive. Signal Flow

14 PRESET HANDLING

Preset types • Press STORE. At this point you may edit the preset name. Factory presets To alter the preset name; use the ARROW The VoiceOne holds 100 factory presets. keys to move cursor between the character Factory presets can be edited and stored in any positions, and the DATA wheel to select User location. You cannot store presets into a character. factory location. • Press STORE to store the preset with the new name. If you choose not to alter the User presets preset name, simply press STORE without User presets can be edited and stored in any altering the characters. This completes the User location. You can store up to 50 user Store operation. presets in the User bank. Backup Presets Via MIDI Recall The User bank can be dumped for backup via Recalling a preset means loading/activating a MIDI to either a sequencer or another preset. VoiceOne. This is how to do it:: • Press RECALL to enter the RECALL menu. • Connect VoiceOne MIDI Out to MIDI In on • Use the DATA wheel to preview presets. either another VoiceOne or sequencer. Blinking front panel lights indicate preview • Enter the Utility menu by pressing the mode. Previewing means that you are not MIDI/UTIL key and scroll to select Bulk actually changing/loading the preset until Dump using the ARROW KEYS. ENTER is pushed. • If connected to another VoiceOne simply • Press ENTER or RECALL to recall/activate press ENTER and the entire User bank will the preset. be copied to the other VoiceOne. • Press any other key at any time during • If connected to a sequencer let the previewing to return to the currently recalled sequencer record in OMNI mode (all preset. channels) and press ENTER on the VoiceOne. Edit The VoiceOne is always ready to receive a To edit preset parameters: MIDI System Exclusive Bulk Dump. • Double click on the Pitch or VM key you Simply connect MIDI Out from the device you would like to edit, are dumping from (or another VoiceOne) to the • Select parameters using the ARROW KEYS MIDI In on the VoiceOne. Send the bulk dump. and change values using the DATA wheel. This sends out the User preset bank. If you are • See the following section for instructions on dumping from a sequencer, simply play the how to store a preset. sequence holding the bulk sysex material you previously recorded from a VoiceOne sysex Store dump. Be sure you play back the sequence at the same tempo or slower than the tempo that To store a preset with the same name: the sequence was recorded at. You will need to • Press STORE. press the RECALL key to load a preset from a If the preset you are about to store is a bank dumped into the unit. Factory preset the VoiceOne suggests the first available User location, but you can select any of the 50 locations using the DATA wheel. If the preset you are about to store is a User preset, the VoiceOne remains on the current location of the preset. You can, however, store at any of the 50 User locations. Select location using the DATA wheel.

15 VOICEMODELING EDIT PARAMETERS

EDITING VOICE MODELING PARAMETERS INF PitRnd GENERAL INFORMATION Applies small variations or pitch randomization A single click will activate/deactivate the effect. to the pitch contour. At a value of 100% the Double clicking on the key will enter the Edit maximum randomization will be +/- 50 cents. menu of the VM effect algorithm. Lit key LED This parameter is used to give human-like indicates active effect block. As all human enhancements to the pitch, just like we hear in voices are unique in their character, every input real vocals. This is useful for creating natural voice will be affected differently by VoiceOne. sounding doubling/harmony voices and MIDI The Style parameter in each category is a pitch-shifted melodies. You can try it on heavily collection of different Voice Modeling pitch-corrected vocals as well. algorithms. Each one has its own unique application. You choose a style to work with, INF TimRnd / INF TimeDly and use the other parameters in the category to These two parameters control our proprietary manipulate the style further. Simple FlexTime(TM) algorithm. FlexTime(TM) allows you descriptions are provided in the Preset/ to alter the timing of your vocal track by slowing /Style/Applications Guide further on in this down or ‘catching up’ the rate at will (without manual. altering the pitch). TimRnd is a time randomization parameter. It is very useful for INFLECTION PARAMETERS harmony and doubling since it decorrelates the The inflection effect can alter the inflection of timing of the two voices and makes them sound your vocals in different ways. You can add like two independent voices. TimRnd is scaled various types of "scooping" effects to the by the Inflection amount. It is also expressed as onsets of a lead vocal for instance, but a percentage of the TimDly. For instance, if the inflection is also the place where you can find TimDly is set to 100ms, TimRnd is at 50% and the humanization tools that will help you give a INF Amt is at 50%, the actual delay will be harmony line its own identity or create randomized between 75 and 100ms. TimeDly extremely natural doubling effect. Inflection controls the delay of the processed voice provides tools such as portamento, pitch and dynamically. It is not scaled by the Inflection timing randomization (using our FlexTime(TM) amount. You can manually control this algorithm) as well as up/down scoop models. parameter by controlling it in real time via MIDI (CC#45). Increasing the delay will slow down INF Amount the track (the faster you increase the delay, the The depth of the inflection applied to the signal. more it slows down) and decreasing it will make the processed vocals speed up (and catch up INF Style with the dry signal when the delay is back to 0). A list of base Inflection types, each with unique characteristics. TimBuf - Inflection Time Buffer - This parameter can 'slip' your vocal track. When the INF Retrig. dry track is delayed, the buffer can run the Selects how often the ‘scoop’ effect is applied. effected audio 'ahead' as well as 'behind' for the Voice One listens for a silenced or unvoiced ultimate doubler - not just a delay but a time duration that you specify. Based on the setting, randomizer, using the dry signal as a pivot. An the inflection will be placed at the start of the increased TimBuf setting gives more range to next note. This parameter has no effect if the the TimRnd (Time Randomization) setting, but current style does not feature a scooping effect. decreases the range of the TimDly (Time Delay). INF Length Note: If you choose to use the TimBuf Sets the rate of ‘scoop’ or ‘portamento’ toward parameter in a MIDI sequence, it is a good idea the original sung pitch. This parameter has no to send the CC for the buffer first. Changing this effect if the current style does not feature a buffer during performance will introduce audio scooping or a portamento effect. clicks. Don't worry, because you can always change the randomization amount and time delay in real-time using the TimDly and TimRnd parameters instead.

16 VOICEMODELING EDIT PARAMETERS

VIBRATO PARAMETERS SPECTRAL PARAMETERS Vibrato is a pitch and amplitude effect that The Spectral styles reflect the natural singers often use in their delivery of a piece of equalization equivalent to the native control a music. It is a combination of various singer has over his or her own voice, and apply characteristics of the voice being repeatedly this equalization to the VM voice. These styles altered in a oscillating fashion. Every singer's may be used in conjunction with the vibrato is unique. The Vibrato Styles are based resonances, or purely as additional tonal on real vocalist's vibratos. We have analyzed a control over the VM voice. large set of parameters from a voice database and created various vibrato models. The SPE Amount Vibrato setting names reflect the style of the The amount of Spectral EQ applied to the vocals from which they were extracted. signal. Experimentation is the key to finding a style setting that best suits your application. You SPE Style might begin incorporating Vibrato into your A list of base Spectral EQ types, each with sound by setting the VIB Amt control to 50%. unique characteristics. This setting matches the depth level that we analyzed in our modeling subjects. You can then vary the effect from this middle range up or down to suit your taste.

VIB Amount The depth of vibrato applied to the signal.

VIB Style A list of base Vibrato types, each with unique characteristics.

VIB OnsTim - Vibrato Onset Time Sets the delay before the onset of the Vibrato effect.

VIB OnsRnd - Vibrato Onset Randomization A parameter that randomizes the delay parameter of the vibrato. The randomized values fall between the VIB OnsTim setting and the percentage of this set in VIB OndRnd. For instance, if your Delay is set to 2000ms and your Randomization is set to 50%, your randomization of the delay will fall between 2000 and 1000ms. This contributes to a more human-like feel, as vibrato entrances are not always at an equal value.

VIB PerTim - Vibrato Period Time Sets the period or speed of the vibrato.

VIB PerRnd - Vibrato Period Random A randomization on top of the existing vibrato period.

17 VOICEMODELING EDIT PARAMETERS

BREATH PARAMETERS RESONANCE PARAMETERS The Breath styles add breathiness to the vocal. Resonance styles allow you to take the This varies from a whisper, all the way to a harmonic content that forms the identity of the rough, raspy sound, such as is found in hard incoming voice and change the content’s rock and ‘alternative’ rock music. positioning to yield a new character to the Some styles are sensitive to the dynamics of sound. Some styles change the voice to a the incoming vocal, meaning that they can be heavier, darker chest resonance, while others ‘played’ by varying the level of what is sung into lighten the sound to more of a head and throat Voice One. This is also known as ‘self control’. resonance. Some styles also change the voice in a more complex way that depends on the BRE Amount input voice. So, try them with the voice you The amount of breath effect incorporated into intend to process. the signal. RES Amount BRE Style Controls the amount of formant resonance A list of base Breath types, each with unique change to the incoming voice. characteristics. RES Style Note: When using the whisper effects, the A list of base Resonance types, each with shift and correct blocks may seem to not be unique characteristics. working. What's actually happening is there is no pitch to shift or correct to in whisper mode. RES Tract Alters the apparent vocal tract length, BRE Harm’X facilitating a gender change to the input voice. Singing with breath implies opening the vocal folds more, and thus changing the harmonic structure: your voice sounds more mellow when you make it breathy. This parameter controls how much the harmonics are altered when adding breath to the voice. At 0% the harmonics are not altered, at 100% the harmonic shaping is at its maximum.

GROWL PARAMETERS Growl in VoiceModeling mimics friction activity between the larynx and epiglottis regions of the vocal tract. This is a ‘character’ phenomenon used in high energy rock, blues or old soul music for example. The Growl effect also models the changes in the vocal tract shape that growling requires, altering the vocal resonance characteristics. Some styles are sensitive to the dynamics of the incoming vocal, meaning that the effect can be controlled by the volume of what is sung into Voice One. This is also know as self-control.

GRO Amount Controls the level of Growl applied to the signal.

GRO Style A list of base Growl types, each with unique characteristics.

18 PITCH EFFECTS EDIT PARAMETERS

EDITING PITCH EFFECTS PARAMETERS- COR Window GENERAL INFORMATION Sets the maximum distance between the input A single click will activate/deactivate the effect. pitch and a note to correct to. An out of tune Double clicking on the key will enter the Edit pitch must fall within this range to have menu of the pitch effect algorithm. Lit key LED correction applied. The LCD display will show indicates active effect block. the range to 200 cents above or below the pitch. A value setting of 600 cents is infinite PITCH CORRECTION PARAMETERS correction. With infinite correction all notes are COR Scale - Scale Type corrected no matter how many notes there are The selections in this category are: Major, in the scale or how out of tune the singer is. Minor, Other, Custom and MIDI. Other scales come from the predefined list below. Their COR Attack notes based on the root you select appear on Sets the responsiveness of the correction. 0% the KEYBOARD in the display. Custom scales is slow, and 100% is fast correction. are entered via the COR Custom parameter below. When the MIDI scale type is selected, COR Amt - Correction Amount the Voice One corrects to MIDI notes supplied The Amount control scales the amount of from a MIDI controller device. automatic correction applied to the input voice. Scale types: The range is from 0% to 100%. However, 0% Major BeBop (dominant) does not mean that the correction is turned off. Minor - Natural BeBop (minor) The amount of correction that is applied Minor - Harmonic Hungarian Minor depends on how far out of tune the input is. Minor - Ascending Melodic Hungarian Major This allows for a very musical way of correcting Chromatic Hungarian Gypsy pitch, by correcting the large pitch errors while Dorian Prometheus preserving the natural micro variations around Phrygian HiraJoshi the correct pitch. For example, a) with the Lydian Iwato amount set to 100%, a 10 cent flat input will be Mixolydian Kumoi corrected by 10 cents and a 50 cent flat input Locrian Hawaiian will be corrected by 50 cents. b) With the Half-Whole Diminished Kokin amount set to 80%, a 10 cent flat input will be Whole-Half Diminished Spanish corrected by approx. 5 cents and a 50 cent flat Altered Egyptian input will be corrected by approx. 40 cents. c) Neopolitan Minor Ritusen With the amount set to 0%, a 10 cent flat input Neopolitan Major Pelog will not be corrected and a 50 cent flat input will Enigmatic Pelog2 be corrected by approx. 10 cents. Whole tone Javanese Pelog Leading Whole-Tone Oriental COR Custom - Scale Overtone Gypsy Press the ENTER key to begin. The display will Augmented Arabian read, COR Custom *Editing* Pentatonic - Major Hindu Use the DATA wheel to scroll around the notes Pentatonic - Minor Persian on the KEYBOARD in the display. The ‘cursor’ Pentatonic - Dominant Chinese is a clear circle. When you arrive at the note Blues Custom you want, press the ENTER key. The note you BeBop (Maj7) MIDI selected will light up. To turn a selected note off press the ENTER key. Repeat this scrolling / COR Root enter process to add other notes if you wish. The beginning pitch or center tone of the scale The settings you make take effect immediately. can be selected here. The Pitch Corrector The custom scale tones you enter are not and Shifter rely on the selection of a root to octave specific. If the notes you choose are the correct/shift pitch. If you choose the MIDI same as a Scale Type from the pre-defined scale type, this parameter does not apply to the scales, the scale name will flash in the display. corrector and the value is not displayed on the If you leave the preset before storing it, you will front panel. The root selection still applies to lose the scale setting. the shifter in this case.

19 PITCH EFFECTS EDIT PARAMETERS

PITCH SHIFT PARAMETERS note in the scale. For example, if the selected COR Scale is ‘Gypsy’, and you shift to the 5th note, you turn the DATA wheel until you see ‘+5 SHI Amnt/SHI Mode - Shift Amount/Mode deg’ in the display. With a root note of C, the To understand how the shift amount is applied note would be G#(Ab). Again, you can see the in the various modes, it is a good idea to be note names mapped in the SHI Map section familiar with how VoiceOne shows the shift (see below). offsets. At any time, you can check the status of When you select SHI Mode Custom, the shifted notes by referring to the Shift Map. (See Amount parameter is not applicable (N/A). The Below). The mode selected decides the way shift amount is directly determined by the input the shift is expressed. SHI Mode sets the shift note to output note relationship in the Shift Map mode - the way in which VoiceOne interprets as described below. the Shift Amount. Note:If the MIDI scale is selected in the COR In Chromatic mode, the shift is shown in terms scale selection, SHI Amount shows N/A. A of cents away from the input, to +/- 2400cents, shift map cannot be generated in this (+/- 2 Octaves). 100 cents equals one situation because the number of notes in semitone. Here you can perform special fine the correct scale can be changing all the tuned shifts, of any range +/- 2400cents. time. In all modes except Chromatic mode, VoiceOne generates a shift map that describes the SHI Map outgoing shift amount for each of the twelve Dialing the DATA wheel changes the IN note so possible input notes. The Maj1,2,3 and that the out note will immediately reflect the Minor1,2,3 modes use the root of the Cor Scale target shift note, depending on the current and the offset you supply under Shift Amount to mode and amount settings. The map is always generate a shift map that will create three viewed (and acted upon) relative to the current useful variations of both major and minor root as selected in the Correction Effect. This harmonies. The Cor Scale mode directly builds allows you to browse what is actually the shift map from the current Cor Scale happening for the current shift mode. The "<>" (whether it be a factory or custom scale). The brackets indicate that the user can press Custom mode allows you to manually specify ENTER to edit. Pressing ENTER will allow the the twelve input note to output note user to turn the encoder to change the "OUT" relationships. The following describes each of note for the currently selected "IN" note. When the modes in detail: editing, the screen will show "*IN = OUT*". In Major1,2,3 and Minor1,2,3 modes, the Shift Once you begin editing, the Shift Mode will be Amount is based on offsets from the root note. automatically set to "Custom". If the mode was For the Major1,2,3 and Minor 1,2,3 scales, the previously not custom, whatever the shift map amount is expressed as scale tone intervals. was will be copied to the preset's custom shift This is shown as ‘Unison’, 2nd 3rd etc. up to map for editing. This allows you to choose for the Octave. For example, with a C root, a G example a Major 1 scale, set an offset amount, would be the 5th. The Major and Minor modes and then press the ENTER key while in the SHI each have 3 variations. This allows a better fit Map screen which will copy the map to the to harmonizing different progressions using custom space allowing you to make changes. major and minor scales. Try the variations for When editing the OUT note, the user can scroll the best fit. to the beginning or end of the list to select When the SHI Mode COR Scale is used, the "NC", meaning “No Change”. No Change tells degrees are shown as ‘+1 deg, +2 deg’ etc., the shifter to keep the last harmony. Each scale depending on the number of notes in the degree of the map has a possibility of being selected scale. Cor Scale mode takes as its shifted no more than 2 octaves in either base the scale you select in the Pitch direction. Pressing ENTER again will return the CORRECT section, in the COR Scale shift map to "browse mode". One shift map is parameter. This scale is displayed on the stored per preset, in the same way custom keyboard. Here you also have a range of +/- scales are. In custom scale mode, you cannot two octaves. This way, if you have a scale that change the shift amount, as it is already directly is less than 7 notes, you can shift to any target specified by the shift map. In chromatic mode,

20 PITCH EFFECTS EDIT PARAMETERS the shift map screen will show "NA", as the shift Notes on the Hybrid Shifter: amount may not be exactly specified in 100 The shifter operates differently depending on cent intervals. The shift map is updated the shift mode, however the final offset in all of immediately as you change the out note, these modes will be smoothed/naturalized by allowing you to audition possibilities while you the various inflection styles if active. The final sing. If the corrector is using a MIDI scale and input to the hybrid shifter will be the shift offset you has select COR Scale shift mode, the Map (calculated by the shift block), plus the will show "NA" as a shift map is not calculable correction offset (calculated by the correct under this condition. block), plus any incoming pitch bend data, plus any active scooping and vibrato. The shift offset *SHI Formnt - Voice Formants Edit is calculated differently based on the shift block Allows the user to set the formant character of state: the voice. Values above 0 extend the vocal tract for a more masculine or mature sound, Shift-Map modes (Major123, Minor123, Scale and a negative value shortens the vocal tract Deg, Custom) for a thinner, more youthful sound. The singer's closest note is supplied by the Note: this control is available in PureShift correct block (may be corrected or not), and is mode only. used to calculate the offset using the current shift map (taking into account the possibility of *SHI Hybrid - Hybrid Shifter Ratio "no change" mappings). The shift map is an Controls the pitch shifting algorithm. At 0%, the array of the twelve semitones and their pitch shifter corrects the formants when corresponding shift amounts. transposing the voice, preserving the character of the original sound. At 100%, the algorithm Chromatic mode does not preserve the formants, so they are The chromatic shift amount is used as the shifted the same amount as the pitch, creating offset. the typical "chipmunk" effect when performing a large upshift. In many cases, smaller shifts are MIDI Override Mode best at a high percentage of non-formant The offset is calculated to maintain the pitch of corrected shifting. When set to Auto, VoiceOne the incoming MIDI notes by nullifying the effect adjusts this parameter dynamically in order to of the corrector and adapting to the singer's achieve the best naturalness at any shift raw input pitch. amount. Note: this control is available in PureShift Shift Block Disabled mode only. The shift offset is zero.

PureShift(TM) PureShift(TM) is a special full DSP operating mode. When this mode is set to on, only the pitch shifting effects (Pitch, Correct, Inflection and Vibrato) are available. By bypassing the non-pitch oriented VoiceModeling(TM) blocks, we allocate more processing power to the pitch shifting function and thus achieve even higher quality and lower latency shifting. Two parameters become available in this mode. Please see *SHI Formnt, and *SHI Hybrid above.

21 I/O SETUP

I/O Setup input pitch, or manual where the user sets a fixed low cut frequency threshold. In the I/O menu you will find input/output settings, analog/digital, Status Bit and Dither. Low Cut Thresh. For any successful operation of the VoiceOne Sets the frequency threshold of the low cut these parameters must be correctly set. All filter. Note that the maximum depends on the parameters in the I/O menu are ‘global’ filtering mode. This equates to 265Hz when in parameters that are not stored with the presets. manual mode, or infinity when in adaptive These parameters are ‘remembered’ by mode. VoiceOne when powering off. Dither -Off, 8, 16, 20 bits... BASIC OPERATION Going from one type of bit resolution to a lower, • Press I/O e.g. from 24 bit to 16 bit, you actually loose 8 • Select parameters using the ARROW KEYS bits of information. The process of cutting off in the CONTROL Section. bits is called truncation and it introduces digital • Change values using the DATA wheel. distortion of low level signals, due to incomplete signal information. To compensate for this - PARAMETERS dither must be applied. Dither is a small amount Input of filtered noise that generates randomization at Select between Analog Ch 1, Analog Ch 2, the noise floor, ensuring a less distorted low Digital Left, and Digital Right Inputs. level signal. Dithering is relevant only on digital outputs and it is always the receiving device Output that determines the number of bits you must Select from VM Ch 1(Delay Ch 2), or VM Ch 2 dither to. A signal delivered to a CDR or a DAT (Delay Ch 1). You can select to have Voice recorder should normally be dithered to 16 bit. Modeling and Pitch Correction output on one In other words - when using the digital Outputs channel, and the process delay-matched dry from the Voice One to feed any 16 or 20 bit signal on the opposite. equipment you should dither to that value via the Voice One. Clock Set the Internal digital audio clock to 44.1kHz, Status Bits 48 kHz, or Digital. Use the Digital setting if the S/PDIF, AES/EBU Voice One is the slave device, and the Internal Select the format of digital information received clock frequencies if the VoiceOne is to be the or transmitted. Note that the default value will master device. be S/PDIF. Also note that the connectors to most systems employing AES/EBU use XLR PLEASE NOTE: jacks. You may need to use special cables to When using internal clock with external digital connect from the Voice One digital RCA jacks to audio, the incoming digital audio must be in XLR jacks on AES/EBU format equipment. sync with the VoiceOne internal clock in order to avoid slip-samples. The **Rate Mismatch** Digital In Gain error message will occur in the display if the Adjusts the Digital In level. This parameter is VoiceOne detects slip-samples. Typically this only active when Digital In is selected. problem only occurs in special clock setups e.g. if the VoiceOne is running via internal clock, Input Range while processing audio from the Digital Input. If Range: Pro/Consumer the incoming clock and the internal clock do not Sets the sensitivity of the Voice One Input. match the VoiceOne will display the above Default setting is “Pro” which will match most written error message. preamps. Low Cut Filter Output Range Off, Adaptive, Manual Range: 2dBu - 20dBu The low cut filter can either be off, adaptive Sets the maximum gain range of the analog where the threshold frequency adapts to the output stage.

22 I/O SETUP - MIDI/UTIL

Latency About the Adaptive Low Cut Filter The choices in this parameter are Normal , Unwanted “rumble” in the low frequency area Medium and Low latency. Low latency mode is can occur even on recorded instruments whose the lowest latency setting that will not main frequency area is situated considerably compromise quality. There is a small process higher. This could be a vocal track where the delay required to do Voice Modeling. The singer is breathing close to the microphone. It lowest latency/delay is available in could also simply 50 or 60 cycle hum from PureShift(TM) correction mode. Entering poorly shielded cables. Situations like this will PureShift(TM) mode will disable the non-pitch disturb the tightness of the low frequency area Voice Modeling effects and their portion of the and to solve that problem you use a low cut display. You may then bypass the latency of the filter. The Adaptive Low Cut Filter in VoiceOne VM effects, and apply all DSP power to pitch allows you to set the threshold frequency effects. For studio applications, a higher latency relatively high without fearing that it will cut off setting will give you the best audio quality. important low frequencies. As the input gets closer to the threshold, the Low Cut Threshold Values: Normal Mode (PureShift Off) Frequency simply adapts and moves low latency is 13 ms downwards. medium latency is 21 ms normal latency is 33 ms MIDI Pitch Out Ch Values: Off, 1-16. Sets the MIDI channel on PureShift which to output pitch data. low latency is 9 ms medium latency is 16 ms MIDI Prg Change normal latency is 33 ms Values: Off, On. Ignores incoming MIDI Program Change messages. Bypass Mode - No Delay, Maintain Delay Controls the bypass mode. When set to No Bend Range Delay, there will be no delay in the audio path Values: 0 to +/- 2400 cents. Sets the range for when you engage the bypass. When set to MIDI Pitch Bend messages. 2400 cents is a Maintain Delay the unit will maintain the range equivalent to two octaves. processing delay. Breath Ctrl MIDI UTIL Values: Auto, Manual. When set to Auto, the self-control is enabled. All parameters in the MIDI/UTIL menu are The type of self-control is defined by the style “general” parameters that are not stored you choose. Auto mode scales the breath effect with the presets. dynamically between 0 and the dialed amount. This is the standard operating mode. However, MIDI Channel - Range: Off,1-16. you may want to add breath in specific sections Sets the responding MIDI channel of the of your vocals and therefore have full control VoiceOne. When set to off, VoiceOne disables over the effect amount. This is what the Manual CC input, NRPN input, pitch bend input, and mode is for. When set to Manual, breath self- NRPN/CC output. control is disabled: the amount of effect being applied is determined by the BRE Amount MIDI Pitch Shift Ch - Values: Off,1-16. Set the parameter only. You can then use the MIDI channel on which to receive pitch shift CC#2 (breath amount) to control the breath in information - the notes to shift to. The pitch shift real-time. Do not forget to set it back to Auto and pitch correct MIDI channels can not be the when you are finished with manual control, so same. you can take advantage of the intelligent self- control feature again. MIDI Pitch Corr Ch Values:1-16. Sets the channel on which to receive MIDI pitch information from a controller or sequencer in the form of MIDI notes.

23 MIDI/UTIL

Growl Ctrl Bulk Dump Values: Auto, Manual. When set to Auto, the Press ENTER to perform a total Bulk dump of self-control is enabled. The type of self-control all presets to an external MIDI device such as a is defined by the style you choose. Auto mode MIDI sequencer. scales the growl effect dynamically between 0 The VoiceOne is always ready to receive MIDI and the dialed amount. This is the standard Bulk dump information. See the section operating mode. However, you may want to “Presets Backup Via MIDI” for more information add growl in specific sections of your vocals on this in the Preset handling chapter. and therefore have full control over the effect The user preset bank can be sent and received amount. This is what the Manual mode is for. via MIDI System exclusive, as a ‘sysex dump’. When set to Manual, growl self-control is disabled: the amount of effect being applied is Foot Switch determined by the GRO Amount parameter Values: Off, Bypass Norm, Bypass Dual . This only. You can then use the MIDI CC#57 (Growl allows you to assign the foot switch jack to one amount) to control the breath in real-time. Do of the bypass configurations. This is handy if not forget to set it back to Auto when you are you choose to use a one-button foot switch. On finished with manual control, otherwise your a two or three button foot switch, BP Norm growl styles will sound unnatural (growl is not means that either button (except the center intended to be applied continuously, unless you button on a 3 button switch) will toggle bypass. desire that effect). Bypass Dual means that the first button changes the Bypass Mode to No Delay and Vibrato Ctrl then toggles bypass, while the second button Values: Auto, Manual. When set to Auto, the changes the Bypass Mode to Maintain Delay vibrato envelope generator is enabled. How and then toggles bypass. The third button of a 3 long a note has to be held until the vibrato button switch is not supported. begins, how fast it fades in, how long it lasts, etc. is defined by the style you choose. This is Sysex ID the standard operating mode. However, you Values: 0-126, all. may want to add vibrato manually in specific The VoiceOne’s System Exclusive ID number. sections of your vocals and therefore have full control over the effect amount. This is what the Program bank Manual mode is for. When set to Manual, Determines which bank an external MIDI device vibrato envelope is disabled: the amount of will address in VoiceOne when sending a effect being applied is determined by the VIB program change. The options are; External, Amount parameter only. You can then use the Factory or User. When External is selected modulation wheel of a MIDI keyboard for controller #32 can be used to address either the instance (CC#1) to control the vibrato amount Factory or the User bank. Factory bank: in real-time. Do not forget to set it back to Auto Controller #32=0 User bank: Controller #32=1. when you are finished with manual control, so you can take advantage of the intelligent self- Tuner Ref control feature again. Values: 400Hz-480Hz. Sets the tuning reference of the units, upon which to base the VM Parm Lock pitch effects. When this parameter is set to Off (default), any changes made to the VM parameters other View Angle than style and amount are replaced by the Adjusts the LCD display backlight for better style’s defaults when the style is changed. If viewing comfort. VM Parm Lock is On, the user controllable VM parameters are not changed when the style Note: Triple Clicking the MIDI/UTIL key at changes. any time will reset all note-ons for both Pitch Correction and Pitch Shifting. This allows you to reset any ‘stuck’ notes without powering down the unit. This is also known as a ‘MIDI Panic Button’.

24 MIDI IMPLEMENTATION - PITCH CORRECTION

CATEGORY CC DATA RANGE DESCRIPTION Pitch Correction (COR) Pitch Correction On / Off 26 0-127 0-63 off 64-127 on Scale Type 16 0-49 Scales as defined in the COR Scale parameter Root 49 0-11 C=0, G=7, B=11 etc. Pitch Window 21 0-127 0=0 cents 64=300 cents 127=600 cents= infinity

Attack 22 0-127 0=fast, 127=slow

Correction Amount 23 0-127 0=less correction 127=most correction

PureShift Mode 30 0-127 0-63 off, 64-127 on

Custom Scale Notes 18 MSB 0nnopqrsB (Binary Pattern) nn reserved o=1 C note on p=1 C#/Db note on q=1 D note on r=1 D#/Eb note on s=1 E note on

50 LSB 0tuvwxyzB t=1 F note on u=1 F#/Gb note on v=1 G note on w=1 G#/Ab note on x=1 A note on y=1 A#/Bb note on z=1 B note on

o...z=0 notes off use 0 value

Example Custom Scale Message:

Intended scale: C, E, G, B based on a C root.

Message: CC#18, 00010001 (converts to 17 decimal), CC#50, 00010001 (17 decimal)

25 MIDI IMPLEMENTATION - PITCH SHIFTING

CATEGORY CC DATA RANGE DESCRIPTION Pitch Shift (SHI) Pitch Shift 14 0-127 0-63 off 0-127 on

Shift Amount (Scale Mode Only) 3 0-127 0-40 = down 24 notes 41= down 23 notes . . . 63 = down 1 note 64 = no shift 65 = up one note . . . 87 = up 23 notes 88-127 = up 24 notes

Shift Amount (Chromatic Mode) 98 NRPN LSB 00 99 NRPN MSB 00 6,38 Data Entry 0-3FFFh MSB LSB 00 00h -2400 cents 40 00h 0 cents 7F 7Fh +2400 cents *Use the full range of NRPN 0 to control the shift amount between -2400 and +2400 cents.

Amount (cents) MSB LSB "Combined Value" -2400 00h 00h 0 0 40h 00h 8192 +2400 7Fh 7Fh 16383

Where "combined value" = MSB*128 + LSB

Shift Mode 63 0-8 0 = Chromatic 1 = Major 1 2 = Major 2 3 = Major 3 4 = Minor 1 5 = Minor 2 6 = Minor 3 7 = Cor Scale 8 = Custom

Formant Shift 25 0-127 64=Flat <64=Shorter Vocal Tract >64=Longer Vocal Tract

Hybrid Ratio 24 0-127 0=100% VoiceOne Formant Corrected Shifting 127=100% Instrumental Conventional Shifting

26 MIDI IMPLEMENTATION - VOICE MODELING

CATEGORY CC DATA RANGE DESCRIPTION Voice Modeling Inflection (INF) Inflection On/Off 15 0-63 off 64-127 on Inflection Amount 55 0-127 Inflection Style 54 0-#of Styles Inflection Retrigger 31 0-127 Inflection Length 35 0-127 Inflection Pitch Randomization 41 0-127 Inflection Time Randomization 44 0-127 Inflection Time Delay 45 0-127 Inflection Time Buffer 85 0-127 Voice Modeling Vibrato (VIB) Vibrato On/Off 17 0-127 0-63 off 64-127 on Vibrato Amount 88 0-127 Vibrato Style 52 0-#of Styles Vibrato Onset Time 46 0-127 Up to 2 seconds Vibrato Onset Randomization 47 0-127 Vibrato Period Time 86 0-127 0=100ms, 127=250ms. Vibrato Period Randomization 87 0-127

Mod wheel CC1 data adds vibrato to whatever the current vibrato amount setting is in the current preset. The value can never go below the current setting and cannot go above 100. If the user sets the vibrato amount to 0, the mod wheel will have a rang of 0 to 100%. Increasing the preset vibrato amount will simply raise the low point of the mod wheel's accessible range. This extra amount remains while the box is turned on or until a preset is recalled, or until the user changes the vibrato amount parameter either from the front panel or MIDI CC 88, or until the Mod Wheel is restored to 0.

Voice Modeling Resonance (RES) Resonance On/Off 51 0-127 0-63 off 64-127 on Resonance Amount 59 0-127 Resonance Styles 58 0-# of Styles Resonance Tract 9 0-127

Voice Modeling Growl (GRO) Growl On/Off 20 0-127 0-63 off 64-127 on Growl Amount 57 0-127 Growl Style 56 0-# of Styles

Voice Modeling Breath (BRE) Breath On/Off 19 0-127 0-63 off 64-127 on Breath Amount 2 0-127 Breath Style 53 0-# of Styles Breath Harmonics 27 0-127

Voice Modeling Spectral (SPE) Spectra On/Off 28 0-127 0-63 off 64-127 on Spectral Amount 61 0-127 Spectral Style 60 0-# of Styles

27 MIDI IMPLEMENTATION

CATEGORY CC DATA RANGE DESCRIPTION Bypass All 62 0-63 bypass 64-127 active

Tuning Reference 101 RPN MSB 00 100 RPN LSB 01 6,38 Data Entry 0-3FFFh MSB LSB 00 00h -100 cents 40 00h 0 cents 7F 7Fh +99.99 cents

The table below shows how to set the MSB and LSB to achieve various cents offsets as per the standard MIDI specification, and how they translate into the frequency in Hz (VoiceOne specifies Tuner Reference in Hz).

Hz Equivalent MSB LSB Cents away from A440 ~415 00h 00h -100.00 ~427 20h 00h - 50.00 ~432 30h 00h - 30.00 440 40h 00h 0.00 ~448 53h 00h +30.00 ~453 60h 00h +50.00 ~466 7Fh 7Fh +99.99

The MSB sets an offset range between 0 = -100 and 127 = +99 cents, 64 equating to 0 cents. The LSB tacks on a fine amount setting between 0 = 0.00 and 127 = 0.99 cents. To convert from a cents offset to an equivalent Hz as indicated by Tuner Ref under the Utility menu, use the following formula: Hz = 440 * (2 ^ (cents / 1200)) For software that only allows you to specify RPN data as one "combined value" between 0 and 16383, here is a formula that you can use: "combined value" = MSB*128 + LSB For example, if you want 453 Hz as your tuning reference, you would choose MSB = 60 and LSB = 0, which using the above formula gives you a "combined value" of 7680.

Please see the NRPN section for the complete list of NRPN controllable parameters.

Pitch Bend Input Pitch Note On C2-C6 Continuous Pitch Bend range of +/- 2 semi-tones Note Off

Pitch Bend 0-3FFFh

28 MIDI IMPLEMENTATION - NRPN

MIDI NRPN Table The VoiceOne can be primed to receive NRPN (Non-Registered Parameter Number) messages by first opening the appropriate "NRPN gate". This is done by sending the appropriate NRPN# using the MSB and LSB NRPN CCs (CC99 and CC98 respectively). Once the gate is open, use the MSB and LSB Data Entry CCs (CC6 and CC38) respectively to change the value of the selected param- eter. When finished, be sure to close the "NRPN gate" by sending 127 to the MSB and LSB **RPN** CCs (CC101 and CC100). Note that the MIDI spec dictates the use of the same mecha- nism to close both the NRPN gate and the RPN gate.

As an example, here is how to set the "Bypass Mode" to "Delay"

CC 99 Value 0 CC 98 Value 2 first two CCs open the "Bypass Mode" NRPN gate CC 6 Value 1 CC 38 Value 0 MSB sets to "Delay", LSB is ignored in this case CC 101 Value 127 CC 100 Value 127 sending 127s closes the open NRPN gate.

The following table lists all of the available NRPN controllable parameters.

The NRPN MSB (CC#99) is always 0 and the NRPN LSB (CC#98) is the number from the table (0- 10).

NRPN # Data Range NRPN # Data Range

0 - Shift Amount MSB LSB (Range) 6 - LCut Filt MSB (Selection) 00 00h -2400 cents 00 Off 40 00h 0 cents 01 Adaptive 7F 7Fh +2400 cents 02 Manual 1 - Bend Range MSB LSB (Range) 7 - LCut Thrsh MSB (Range) 00 00h 0 cents 00 ~56Hz 7F 7Fh +2400 cents 7F ~266Hz 2 - Bypass Mode MSB (Selection) 8 - Input Select MSB (Selection) 00 Normal 00 A-Ch.1 01 Manual 01 A-Ch.2 3 - BreathCtrl MSB (Selection) 02 D-Left 00 Auto 03 D-Right 01 Manual 9 - Output Select MSB (Selection) 4 - GrowlCtrl MSB (Selection) 00 VM-Left 00 Auto 01 VM-Right 01 Manual 10 - Latency MSB (Selection) 5 - VibCtrl MSB (Selection) 00 Normal 00 Auto 01 Medium 01 Manual 02 Low

29 TECHNICAL SPECIFICATIONS

Digital Inputs and Output Connectors: RCA Phono (S/PDIF) Formats: S/PDIF (24 bit), EIAJ CP-340, IEC 958 Output Dither: HPF/TPDF dither 24/20/16/8 bit Sample Rates: 44.1 kHz, 48 kHz Frequency Response DIO: DC to 23.9 kHz ± 0.01 dB @ 48 kHz

Analog Input Connectors: XLR, balanced Impedance, Bal / Unbal: 21 kOhm / 13 kOhm Max. Input Level: +24 dBu Min. Input Level for 0 dBFS: 0 dBu Sensitivity: @ 12 dB headroom: -12 dBu to +12 dBu A to D Conversion: 24 bit, 128 x oversampling bitstream A to D Delay: 0.65 ms / 0.70 ms @ 48 kHz / 44.1 kHz Dynamic Range: 100 dB typ, 20 Hz - 20 kHz THD: typ <92 dB (0,0025 %) @ 1 kHz Frequency Response: +0/-0.1 dB @ 48 kHz, 20 Hz to 20 kHz Crosstalk: <-95 dB, 20 Hz to 20 kHz

Analog Outputs Connectors: XLR, balanced Impedance Balanced / Unbalanced: 40 Ohm Max. Output Level: +20 dBu (balanced) Output Ranges: Balanced: 20/14/8/2 dBu Unbalanced: 14/8/2 dBu D to A Conversion: 24 bit, 128 x oversampling bitstream D to A Delay: 0.63 ms / 0.68 ms @ 48 kHz / 44.1 kHz Dynamic Range: 104 dB typ, 20 Hz to 20 kHz THD: typ <-94 dB (0.002 %) @ 1 kHz, +20 dBu Output Frequency Response: +0/-0.5 dB @ 48 kHz, 20 Hz to 20 kHz Crosstalk: <-100 dB, 20 Hz to 20 kHz

EMC Complies with: EN 55103-1 and EN 55103-2, FCC part 15 Class B, CISPR 22 Class B

Safety Certified to: IEC 60065, EN60065, UL6500 and CSA E60065 CSA FILE #LR108093

Environment Operating Temperature: 32° F to 122° F (0° C to 50° C) Storage Temperature: -22° F to 167° F (-30° C to 70° C Humidity: Max. 90 % non-condensing

Control Interface MIDI: In/Out/Thru: 5 Pin DIN Pedal: 1/4" phone jack

General Finish: Anodized aluminum front Plated and painted steel chassis Display 23 character / 280 icon STN-LCD display Dimensions: 19" x 1.75" x 8.2" (483 x 44 x 195 mm) Weight: 4.1 lb. (1.85 kg) Mains Voltage: 100 to 240 VAC, 50 to 60 Hz (auto-select) Power Consumption: <15 W Warranty Parts and labor: 1 year

Due to continuous development these specifications are subject to change without notice.

30 PRESET/STYLE/APPLICATIONS GUIDE

Presets - Factory 14 Shift +5th Note: The designation 'VM' in the preset 15 Shift +8veInflect name means that some Voice Modeling With Inflection parameters effects are included in the preset.

1 VoiceModel Teen 16 Shift -8ve A young voice without the high maintenance singer. AKA the fountain of youth preset. Build 17 Shift your 'Boy Band' tracks here as well. 8ve Frap - Down so low the ground rumbles. The 'Frap' name describes the sound in 2 VoiceModel Older informal terms. A more mature vocal tract sound. 18 Shift +8ve VM 3 VoiceModelWhisper Shift and Voice Modeling The TC-Helicon whisper effect. Any full blown vocal can have a whisper. 19 Shift Trailer Vox 4 FlexTime Extreme That classic movie trailer voice that appears on Maxing out the FlexTime phenomenon. everything. Uses the R&B resonance, a -400 cent shift, and medium rough Breath. 5 Corect Chromatic Simple pitch correction to the nearest note in 20 Shift R&B Soprano the chromatic scale An octave shift with female overtones.

6 Correct Mon Chere 21 Shift Nervous Hard pitch correction, a la hit pop records. The A multi-effect including pitch correction, bridge between pop and a robotic voice. rsonance, and a nervous sounding vibrato. 22 Shift Radio Voice 7 Shift Instrumental Some famous speeches in the days of lo-fi Conventional Instrumental pitch shifting. come to mind when using this preset.

8 Shift Formant Cor 23 Harmony 6th below Formant corrected pitch shifting. Harmony presets - -

9 Shift Hybrid TM 24 Harmony 3rd Above TC-Helicon's patented Hybrid shifter can combine the best aspects of instrumental and 25 Harmony +3rd VM Voice modeled shifting. 26 Harmony +6th VM 10 Shift Model Voice Model based formant corrected pitch 27 AutoPitch Triad shifting. Quantizes input pitches to a triad. ‘ 11 Tight Double 28 AutoPitch Maj2min A doubling effect where the dry and randomized Changes major mode vcal to minor mode. delay voice are close together in time. 29 AutoPitch Compres 12 Scoop Double Compresses the overall pitch range. Doubling with a scoop effect, separating the styes of the dry and modeled voice for contrast. 30 AutoPitch Invert

13 Loose Double 31 AutoPitch Expand Doubling with heavy delay and randomization Expands the overall pitch range. settings - a very big sound.

31 PRESET/STYLE/APPLICATIONS GUIDE

32 MIDI Portamento 45 VM Fast Vibrato MIDI control of pitch shifting, with smooth Voice Modeled Vibrato. portamento transitions between notes triggered on a MIDI device or in a sequencer. 46 VM Folk Vibrato Voice Modeled Vibrato. 33 MIDI Pitcher MIDI Pitch shifting with no formant alterations 47 VM Mac The Knife A Vegas style lounge sound. 34 MIDI Pitcher Big MIDI Pitch shifting with formants corrected to 48 VM Intimate R&B give a full, deep sound. Smooth with lots of close-miked sound.

35 MIDI Pitch Small 49 VM Deep Opera Vib MIDI Pitch Shifting with formants corrected to A good operatic simulator. give a smaller, youthful sound. 50 VM Broadway 36 Corr Smooth Major Reminescent of the days of the 'show tunes' Pitch correction to a major scale as a and musicals. reference. Simply adjust the root to match the root of your song in a major key. 51 VM Hiccups Vib A fun vibrato. 37 Corr Smooth Minor Pitch correction to a minor scale as a 52 Scoop City reference. Simply adjust the root to match the Scoops in the inflection section. root of your song in a minor key. 53 VM Barbie Scoop 38 Corr Smooth MIDI A pouty scoop with a teen-pop flavor. Pitch correction using input MIDI notes as reference. 54 Country Scoop Scoop inflections similar to those in country 39 Corr MedChromatic music. Pitch correction to a chromatic scale with semi- strict parameters for quantizing pitch. 55 VM Mid Cut Spectral preset concentrating on some 'muddy' 40 Corr Medium Major midrange frequencies. More stringent pitch correction to a major scale reference. 56 VM Up-Tilt Cut in the low-end, and boost in the high end. 41 Corr Medium MIDI MIDI pitch correction with more stringent 57 VM LoCut MidBoost correction parameters. Another spectral curve.

42 Corr Hard Iwato 58 VM More Kick Strong pitch correction to the exotic Iwato Spectral wake-up call. scale. See the supported Pitch Correction scale table to view the semitone structure. 59 VM Doomp Adding a low frequency push. 43 Corr Hard MIDI Very stringent correction to input MIDI notes. 60 VM Whump Another low frequency push. 44 Corr Bangkok Another exotic correction scale. See the 61 VM Natural Breath supported Pitch Correction scale table to view An example of natural modeled breathiness. the semitone structure.

32 PRESET/STYLE/APPLICATIONS GUIDE

62 VM Dirty Breath 76 VM Big Booty A breath preset more akin to rock and How low can you go? Another 'big-izer'. alternative rock styles. Lots of harmonic content. 77 VM Kimmy A female combo. 63 VM Leaky Pipes Noisy breath sound. 78 VM Danke Schoen A show-tune special combo. 64 VM A LittlePhlegm A very noisy sound from the Growl styles. 79 VM Stretch Neck Changing the vocal tract for a bigger sound. 65 VM Raspy Throat Great for rock vocals. 80 VM Big Blues A bluesman impression. 66 VM Fire Breather Human or dragon? Perhaps both in this glottal 81 VM The Sting ensemble. A bright, brazen inflection/breath combo.

67 VM Rock Throat 82 VM Godfather Get the energy, don't do the damage. A combo The sound of a big, powerful man. of rasp from the breath section, and a light Growl. 83 VM Marlboro A rough character voice. 68 VM Growl Adaptive This preset 'Growls' on the loud notes, and 84 VM Steve Irk holds back on the lighter ones. An interesting character voice.

69 VM Whiskey 85 VM Garth Raider Getting that raunchy sound doesn't mean you One from the movies. have to drink hard liquor and smoke cigarettes. It's all in this preset. 86 VM Steroid Boy Sound bigger than you really are. 70 VM R&B Diva Alto Smooth & full. 87 VM Ethel A female character voice. 71 VM George Shrinks Brings any vocal down to size. 88 VM Dark Stranger The character voice of someone you wouldn't 72 VM Peanut Butter want to meet in a dark alley. Sticks to the roof of your mouth. This is a fun one. 89 VM BAMMMMMM A hard hitting combo. 73 VM To Die For Intimate close-mic sound with vibrato - lots of 90 VM On the Ritz presence. Back to the 30s.

74 VM Fou Fou Girl 91 SFX Wild For the girl who has everything but a hit pop As the name implies. record. 92 SFX Can't Sing 75 VM Rich and Full Wild pitch effects. A nice VM combination. 93 SFX Lava Lamp A throwback to the 60s.

33 PRESET/STYLE/APPLICATIONS GUIDE

94 SFX Mice 98 SFX Breakdown A strange hybrid of pitch and breath. 95 SFX Tarzan The classic ape-man. 99 Quickstart Preset The tour preset as described in the VoiceOne 96 SFX Wham Bam Quick Start Manual.

97 SFX Witching Hour 100 Blank Template A spooky voice. A blank canvas with which to paint your vocals. You can begin here, then save your creation to a user location.

VOICE MODELLING STYLES

Inflection MIDI CCs: On/Off: 15 Style: 54

Style Value and Name 0 Double - Used for doubling of the lead voice - light time randomization. 1 DblScoop - Doubling setting with a scoop on the effected voice. 2 Loose - Heavy time randomization doubling style. 3 ScoopUp - Inflection scoops up to the sung pitch. 4 ScoopDwn - Inflection scoops up to the sung pitch. 5 ScpUpOver - A scoop that begins below the sung pitch, travels above the pitch, then r returning down to the sung pitch. 6 ScpDwnOvr - A scoop that begins above the sung pitch, travels below the pitch, then returning up to the sung pitch. 7 AllOver - Random length scoops at the depth (amount) you select. 8 PickaKey - Pitch distortions using scoops. 9 TapeStart - Simulation of an analog tape machine starting up, slurring the audio to reach the proper speed. 10 UpThere - A very dramatic down scoop. A large scoop at an amount of 50%. 11 Portamento - Adds smoothness to pitch shifts and pitch correction note transitions. Vibrato MIDI CCs: On/Off: 17 Style: 52 Note: These Vibrato styles were modeled after real singers singing in the musical genres noted in the style names.

Style Value and Name 0 Ballad - A style typical of slow pop ballads of the 1970s. 1 Broadway - The classic vibrato of the New York Show-Tune sound. 2 ClassicRk - Classic Rock - A rich and potent sound. 3 Country - The mellow oscillation found in country music.

34 PRESET/STYLE/APPLICATIONS GUIDE

4 Crooner - The classic sound of the Las Vegas entertainers. 5 DeepJazz - Reminescent of the great jazz singers of the 1950s. 6 Discreet - A very light vibrato. 7 Folk - A nice, warm and pleasant vibrato. 8 Funk - An energetic sound from the 70s. 9 HeadVoice - A very resonant vibrato, using pitch and amplitude modulation. 10 HiEnergy - A fast vibrato. 11 LiteJazz - A lighter jazz sound. 12 Lounge - The bold and big sound of the lounge entertainer. 13 MelloFolk - A sweet, mellow sound. 14 MellowPop - Light accents to a pop vocal. 15 NervTremo - A very fast, ‘nervous’ and choppy vibrato. 16 OperaTen - The sound of a classical Tenor singer. 17 TnrDelayd - A classical tenor sound with a delayed onset. 18 PopDiva - The sound heard on many hit pop recordings. 19 PopDivaXT - A thicker and fuller Pop Diva vibrato, with a faster onset time. 20 R&B - VIbrato from another pop music culture - Rhythm and Blues. 21 SloGospel - The big sound of the southern US Gospel singer. 22 SloRock - A rock vibrato typically used in slower pieces. 23 Smoothpop - A smoother pop vibrato. 24 Soprano - The vibrato sound of a classical soprano. 25 Tremolo - No pitch modulation, just amplitude modulation. 26 WarmVibe - A warm and quick vibrato sound. 27 Jungle - Special Effect. The sound of the jungle-man. 28 Landing - The sound of a close encounter with a spaceship landing. 29 Motorbike - A motorcycle-like sound. 30 Nervous - Special effect. An agitated, uneasy sound. 31 Sheep - Special effect. The likeness of sheep bleating in the field. 32 Siren - Special Effect.The sound of a North American emergency vehicle. 33 Slicer - Special effect. A choppy alternative to a standard vibrato. 34 Surprise - Special Effect. A sudden pitch change when you least expect it. 35 UFO - Special Effect. The sound of your science-fiction imagination.

Spectral MIDI CCs: On/Off: 28 Style: 60

Style Value and Name 0 LoCut - Low frequency cut 1 LoRoloff - A smooth slope reducing the low frequencies. 2 LoMdCut1 - A cut applied to the lower mid-range frequencies. 3 LoMidCut2 - A different low-midrange frequency cut. 4 LoMidCut3 - A third variation on the low-mid frequency cut. 5 LoCtMdBst - Low frequency cut, midrange boost 6 LoBoostDp - Low frequency boost, with a deep sound. 7 Doomp - If you say the word, you’ll get the idea of how this affects your vocal - a low frequency boost. 8 MidCut1 - A reduction of midrange frequencies. 9 MidCut2 - A variation on the midrange frequency reduction. 10 MidCut3 - Another variation on the midrange frequency reduction. 11 DeHonk - A midrange reduction on those frequencies that can give a nasal sound. 12 DeHonk2 - Another midrange reduction on those frequencies that can give a nasal sound.

35 PRESET/STYLE/APPLICATIONS GUIDE

13 DeHonk3 - A third midrange reduction on those frequencies that can give a nasal sound. 14 Honk - A midrange boost for a nasal or congested sound. 15 Whump - A midrange boost that packs a lot of punch. 16 MidBoost1 - A midrange frequency boost. 17 MidBoost2 - A variation on a midrange frequency boost. 18 MidBoost3 - Another variation on a midrange frequency boost. 19 MdHiBoost - Boosts the midrange and high frequencies. 20 HiCut1 - A reduction of high frequencies. 21 HiCut2 - A variation on a reduction of high frequencies. 22 HiRolloff - A reduction of high frequencies, using a smooth curve 23 HiBoost1 - A boost of high frequencies. 24 HiBoost2 - A variation on a boost of high frequencies. 25 UpTilt - A frequency boost to the high end of the spectrum that resembles a diagonal line on a graph. 26 Sizzle - Accentuates the highest frequencies. 27 AMRadio - Simulates the low fidelity / reduced frequency response of the AM radio band. Breath MIDI CCs: On/Off: 19 Style: 53 Abbreviation definitions: Rsp=Rasp - extreme friction in the vocal tract common in rock music. Amp=Amplitude - the VoiceModel is sensitive to high amplitude. Style Value and Name 0 Natural - A simple natural sounding breath model. 1 FadeInAir - An airy sound that fades in as the sung note sustains. 2 LightAir - A light, airy breath sound. 3 Intimate - A simulation of the breath sound of a singer who is very close to a condenser microphone. 4 QuietAir - A subtle, airy breath effect. 5 SoftAir - A smooth breath sound. 6 FadeInNat - The natural breath style, but with the breath fading in as the sung note progresses. 7 HighEnd - A breath sound with a lot of high frequency content. 8 Softened - A softer breath sound with less high frequency content. 9 FadeInRx - Another breath style that fades in as a note is sung. 10 MedRough - A rougher breath sound. 11 DirtyAir - An airy breath sound, but with some granularity 12 DarkAir - A deeper and fuller breath sound. 13 DarkHeavy - A breathy sound with a lot of low frequency content. 14 RaspAir - A raspy sound with breathy overtones. 15 DirtyAir2 - An airy breath sound, but with granularity. 16 AmpAirRsp - An airy, raspy sound that is triggered when the input voice sings louder. 17 OnsetRasp - A rasp sound that is triggered at the onset of a phrase. 18 Raspy - A rasp sound that you might find in heavy rock music. 19 Raspy Too - Another rasp variation. 20 Sandy - A smoother rasp sound. 21 NoisyCord - Overtones similar to the sound of ravaged vocal chords. 22 RspMidCut - A rasp sound with thess midrange frequencies. 23 Overtoney - Special Effect. A glottal sound with a lot of harmonic content. 24 Phlegmmy - Special Effect. As if you sang with a cold. 25 Tracheoto - Special Effect. Trachea gymnastics. 26 SFX - Special Effect. A TC-Helicon laboratory experiment!

36 PRESET/STYLE/APPLICATIONS GUIDE

27 Whisper1 - Reduces a full on singing voice to a whispering tone. 28 Whisper2 - A variation on the whisper sound with differend frequency response. Growl MIDI CCs: On/Off: 20 Style: 56

Abbreviation definitions: Adapt=Adaptive - The algorithm listens for extremes in amplitude from the vocal, and applies the effect upon detection. Cnst=Throat Constriction Onst=Onset RevConst=Reverse Throat Constriction

Style Value and Name 0 AdaptCnst - A throat constriction effect that thickens the sound as the amplitude of the vocal increases. 1 AdptCns2 - Another Throat constriction algorithm, triggered by a loud input vocal. 2 Amplitude - Growl that is amplitude driven 3 Amplitud2 - Growl that is amplitude driven, but with a rough and grainy texture. 4 Amplitude3 - Yet another amplitude driven growl. 5 Blues - A growl reminescent of blues styles of the southern USA. 6 BigBlues - A variation on the Blues Growl. 7 ChaChow - A sharp, abrasive growl. ‘Cha Chow’ comes from a vocal line that was sung while testing VoiceOne. 8 Grainy - Growl with graininess, or a gruff sound. 9 Grainy2 - Growl with graininess. This one is a bit tighter than the Grainy style. 10 Growl - A standard growl sound. 11 Growl2 - A variation on the standard growl sound. 12 HeavyAdap - Growl that is vry sensitive to aplitude for its triggering, moreso than styles 2,3, and 4. 13 LiteConst - Light Throat constriction effect on high amplitude vocals. 14 OnsetConst - Throat constriction effects triggered on the onset of a phrase. 15 RevConst - Throat constriction working in reverse. The sound is deeper and fuller until the amplitude of the vocal triggers the normal sound to return. 16 RevCnst2 - A variation on reverse throat constriction. 17 Seldom - Growl that occurs infrequently. 18 TooMuch - Growl that is very sensitive to amplitude. Includes throat constriction. 19 WierdOnset - Growl with throat constriction that appears in the phrase where you may not expect to hear it.

37 PRESET/STYLE/APPLICATIONS GUIDE

Resonance MIDI CCs: On/Off: 51 Style: 58 Note: Each Resonance style will sound different with each input vocal. Some styles may have little effect on the voice, while others may be affected substantially.

Style Value and Name 0 SlinkyPop - A resonance sound that thins out the voice to sound similar to a youthful pop singer. 1 Narrow - Resonance that thins the voice. 2 PalateUp - The sound of a singer resonating primarily in the soft palate area. 3 FatTongue - Simulation of a singer with a large tongue to add to the resonant sound. 4 Sumo - A very big style to simulate a very big person. 5 Long - A model of a long vocal cavity. 6 WideMouth - A model of a singer with a large vocal cavity. 7 R&B - Resonance used to get a fuller, darker voice for American R&B styles. 8 Phattener - Another character resonance for a bigger, fatter sound. 9 Smooth - A subtle warp to change the generall character of the vocal. 10 Trans1- The transmute styles were created with the idea that the voice might not simply sound ‘larger’ or ‘smaller’, but just different in some way. Experiment with the transmutes when you need subtle colorations. 11 Trans2 12 Trans3 13 Trans4 14 Trans5 15 Trans6 16 Trans7 17 Trans8 18 Trans9 19 WideVibe - A funky and large sound. 20 Nosy - A nasal resonance sound 21 Crazed - Something wild and crazy.

38 PITCH CORRECTION (COR) SCALE DEFINITIONS

Number system is based on semi-tones above the root.

Scale Name Notes Major 0,2,4,5,7,9,11 Minor (natural) 0,2,3,5,7,8,10 Minor (harmonic) 0,2,3,5,7,8,11 Minor (asc melodic) 0,2,3,5,7,9,11 Chromatic 0,1,2,3,4,5,6,7,8,9,10,11 Ionian (Major) 0,2,4,5,7,9,11 Dorian 0,2,3,5,7,9,10 Phrygian 0,1,3,5,7,8,10 Lydian 0,2,4,6,7,9,11 Mixolydian 0,2,4,5,7,9,10 Aeolian (nat. min.) 0,2,3,5,7,8,10 Locrian 0,1,3,5,6,8,10 Half-Whole Diminished 0,1,3,4,6,7,9,10 Whole-Half Diminished 0,2,3,5,6,8,9,11 Altered 0,1,3,4,6,8,10 Neopolitan Minor 0,1,3,5,7,8,11 Neopolitan Major 0,1,3,5,7,9,11 Enigmatic 0,1,4,6,8,10,11 Whole-tone 0,2,4,6,8,10 Leading whole-tone 0,2,4,6,8,10,11 Overtone 0,2,4,6,7,9,10 Augmented 0,3,4,7,8,11 Pentatonic (Maj) 0,2,4,7,9 Pentatonic (Min) 0,3,5,7,10 Pentatonic (Dom) 0,2,4,7,10 Blues 0,3,5,6,7,10 BeBop (maj7) 0,2,4,5,7,8,9,11 BeBop (dom) 0,2,4,5,7,9,10,11 BeBop (min) 0,2,3,4,5,7,9,10 Hungarian Minor 0,2,3,6,7,8,11 Hungarian Major 0,3,4,6,7,9,10 Hungarian Gypsy 0,2,3,6,7,8,10 Prometheus 0,2,4,6,10 HiraJoshi 0,2,3,7,8 Iwato 0,1,5,6,10 Kumoi 0,1,5,7,8 Hawaiian 0,2,3,7,9 Kokin 0,1,5,7,10 Spanish 0,1,4,5,7,8,10 Egyptian 0,2,5,7,10 Ritusen 0,2,5,7,9 Pelog 0,1,3,7,8 Pelog2 0,1,3,7,10 Javenese Pelog 0,1,3,5,8 Oriental 0,1,4,5,6,9,10 Gypsy 0,1,4,5,7,8,11 Arabian 0,2,4,5,6,8,10 Hindu 0,2,4,5,7,8,10 Persian 0,1,4,5,6,8,11 Chinese 0,4,6,7,11

39 VOICEONE TIPS

Setup Tip - Inputs (MIDI/UTIL) change to a lighter sound when the singer You can connect two separate sources to feed strains. Remix artist might treat this effect like a VoiceOne, and select between them in the phaser or flanger, but with a completely new MIDI/UTIL menu. You can have the output from twist - try that with an EQ! a preamp or compressor connected to one input, while a separate source from another Self Control and MIDI Control device is connected to the other input. This Vibrato, Breath and Growl have a self-control might save repatching devices when you want mechanism that modulates the effect amount to preview signals from two different sources. based on various characteristics of the input signal. However, if you want to have full control Setup Tip - Outputs over the effect amount at any time (via MIDI for You can use both sets of outputs instance), you can disable the self-control by simultaneously in VoiceOne. You may wish to setting Vibrato Ctrl, Breath Ctrl and Growl Ctrl send the digital outputs to a digital recorder or to Manual in the MIDI/Util menu. computer sequencer, and send the analog Repitching a melody via MIDI - Inflection outputs to a monitor system. Parameters (INF) If you control the pitch of your vocals through a Humanization - Pitch Randomization MIDI keyboard, the Inflection effect provides Parameters pitch naturalization features that will make it To get a more human-like sound from your sound more natural. A few styles dedicated to Processed vocal, work with the Randomizing this task are available. parameters: Inflection Pitch Randomization (INF PitRnd), Doubling - Inflection Parameters (INF) Inflection Time Randomization (INF TimRnd), To achieve the best doubling effect, the only thing you need to use is one of the Inflection Adaptive Glottal Controls - Growl Styles styles designed for this purpose. Record your (GRO) vocals through the box and mix with the dry, To apply a 'hands-free' aspect to the vocal one track being slightly panned to the left and delivery, choose a glottal style that employs the other one to the right. That's it! (You might amplitude sensitivity. See the Preset / Style also want to delay the dry signal slightly). pamphlet for details on the adaptive controls available to the style. The louder your input Holding a harmony note longer than the gain, the more glottal is applied. You may use lead voice - Inflection Parameters (INF) this to apply growl to emphasized notes in the You can make VoiceOne extend a note by phrase. Some glottal styles also couple this using the FlexTime(TM) algorithm. When you with a change in resonance, simulating the hold a long note, increase the INF TimeDly emphasis a blues singer places on certain parameter (CC#45) to its maximum long 'growled' notes. enough before the end of the note. When the input note ends, VoiceOne keeps singing for a Stacking Vocals while. Immediately after the end of the note, To make your multitracked vocals sound more reset the parameter. If you want the note to be like a true vocal group instead of just multiples sustained for a shorter period of time, set of you, try running one part to tape several TimeDly to a lower value. times, each through a different warp style. You could also sing each track independently for an Natural Sounding Harmony - Shift even bigger effect. Stack the tracks, mix to Parameters (SHI) stereo, add your favorite effects and enjoy. To achieve natural sounding harmonies, use the few inflection styles designed especially for Changing Formants 'On-the-Fly' - this task. It will help give your harmony line its Resonance Styles and Amounts (RES) own identity by de-correlating it from the lead Remember that you're not limited to one voice. In some cases, slightly slipping the dry resonance style within a vocal. You can use track back in time (e.g. delaying it) so the MIDI control change commands to do a harmony voice can sometimes be ahead of the 'resonance sweep' on a sustained note, or lead voice) will improve the result.

40 VOICEONE TIPS

Pitch Corrected Harmony If you turn on Pitch Correction while in Scale Mode, your output ‘harmony’ voice will be pitch corrrected as well.

Thanks for exploring VoiceOne's unique technology with us! We invite you to watch our website for updates, user stories, news, support and other activities involving TC- Helicon and Voice Processing technology. Join us at: http://www.tc-helicon.com

The TC-Helicon Team

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